Vidwanono Kavya Vinod

Here's a comprehensive summary of the Jain text "Vidwanono Kavya Vinod" by Bhuvanchandravijay, based on the provided pages:

The text, "Vidwanono Kavya Vinod" (Literally: The Poetic Amusement of the Learned), published by 'Anusandhan' (Research), is a collection and discussion of four unique Sanskrit and Prakrit poetic compositions created by Jain ascetics. These works highlight not only the ascetics' devotion to their faith and spiritual principles but also their scholarly acumen and deep appreciation for literature.

The book presents four distinct poetic works, discovered in scattered manuscript folios, that showcase the ascetics' engagement with poetic and scholarly amusement:

1. 'Shrutikatu Shlok' (Ear-Piercing Verse) and its Commentary:

   • The author of the verse itself is not mentioned on the manuscript. It's suggested that the verse might have been composed by a non-Jain poet.
   • However, the commentary on this verse is strongly believed to be the work of a Jain ascetic. This is because the problematic verse, which is difficult to understand without explanation, is found in the same folio as other works attributed to Jain ascetics.
   • Both the verse and its commentary mention Tirthankaras (Jain spiritual leaders), although the specific author is not named.
   • The 'Shrutikatu Shlok' is described as harsh to the ears and seemingly meaningless. However, it is a grammatically sound composition that skillfully employs the rules of Sandhi (word combination), Samas (compounds), Tadit (affixes), and vocabulary in a way that creates a harsh, though intentionally crafted, phonetic structure.
   • The commentary provided is essential for a general reader to comprehend this verse.
   • The text also mentions another verse composed in praise of Shiva, whose author and commentator are also unnamed.

2. 'Samasya' (Problem Verses) - Two Works:

   • These are two sets of verses (one with 8 verses and another with 5 verses) that are in the form of "Samasya," meaning they are based on completing a given problem or partial verse.
   • These compositions are presented as delightful examples of the poet's imaginative and productive creative power. There's a possibility that both sets were composed by the same author.
   • First 'Samasya' (8 verses): The initial verse poses several questions, the answers to which form the fourth line. The subsequent seven verses then complete this fourth line with various imaginative elaborations. The poet masterfully sustains the completion of the line with new similes and metaphors in each verse, offering enjoyment to discerning readers.
     • Example described: The essence of one verse is about the serpent king Dharanendra supporting the dark-complexioned Lord Parshvanath with his coiled body, spreading his hood like a canopy. Over this, rain falls, creating a visual that resembles a bee on the tip of a bow, a mountain above the bee, and the ocean above the mountain. The poet elaborates on this imagery of a bow, bee, mountain, and water in the subsequent verses.
   • Second 'Samasya' (5 verses): This set uses the imagery of "six wells at the tip of a needle, a city above them, and a Ganga river flowing over the city." The poet describes this concept in five imaginative depictions.
     • One interpretation: The needle's tip represents the raised hands for the Tirthankara's Aarti (lamp ceremony), the six wells are the six hollows in the Aarti lamp, the city is the flame of the lamp, and the Ganga river is the smoke.

3. 'Dvatrimshad-Vyanjanmay Stuti' (Praise Composed of Thirty-Two Consonants):

   • This is a unique Anushtubh verse of 32 letters, composed by arranging the letters of the alphabet in their standard sequence, with the addition of appropriate vowels. Only the consonants are used, with the constraint of the 32-letter limit for the Anushtubh meter.
   • The poet did not adhere to rules like using only single-syllable words but insisted on the sequential order of the alphabet.
   • Words with multiple letters are arranged so skillfully that only their consonants are pronounced.
   • The author of this verse is Pandit Lakshmikalal Gani, who also wrote his own commentary on it. He states that this composition was created for the amusement of intelligent people.
   • The commentary on this verse elaborates on the significance of different parts of the verse, linking them to the spiritual attainments of the Tirthankara, such as mastery of knowledge, the glory of worship, the removal of obstacles, and the authority of his speech.

Author and Time Period:

• Pandit Lakshmikalal Gani is identified as the author of the 'Varnamalana Aksharo' verse and its commentary. His time is recorded as V.S. 1600 in 'Jai.Sa.San. Itihas,' although the available scattered manuscript appears to be from the 18th century. He is known for other works with multiple meanings.

In essence, "Vidwanono Kavya Vinod" provides a glimpse into the intellectual and literary pursuits of Jain ascetics, showcasing their ability to weave profound spiritual messages and devotional sentiments into intricate and artistically crafted poetic forms. The text highlights the value placed on literary skill and creative expression within the scholarly tradition of Jainism.